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The 

Steeple-Jack's 
Instructor 

'a 



The S. J. Lee Publishing Co. 

Chicago, U. S. A. 






THE 

STEEPLE - JACK'S 
INSTRUCTOR 

°$ 

Showing the Modern Methods Used 
by Successful Steeple-Jacks 

Price $2.00 



By CLARENCE JAMES MURRAY 



Published by 

THE S. J. LEE PUBLISHING CO. 

160 NORTH WELLS STREET 
CHICAGO, U. S. A. 



[At 



Copyrighted 1921 

by 

The S. J. Lee Publishing Co. 

Chicago, U. S. A. 



©CI.A61.1986 
20 I92i 



4T 



CONTENTS 



Page 

Introduction 9 

How to Become a Steeple- Jack 9 

The Smokestack 16 

To Rig a Stack Without a Gimblet 

Wire 31 

How to Change the Riggings 39 

Steel Stacks with Brick Lining 40 

Smokestacks with Ladders 42 

Steel Stacks Decay at Band 43 

Reguying 44 

Tripping the Riggings 50 

Self-supporters 55 

Knots 58 



CONTENTS 



Page 

Square Knot 60 

Bow-line Knot 62 

Half-hitches 64 

The Black Wall 66 

Tanks, Towers and Standpipes 67 

Standpipes 69 

Water Towers 71 

Church Spires 74 

The Flagstaff 78 

Tops of Poles 85 

Names of Knots, Bends, Bights and 

Hitches 93 



How to Become a 
Steeple-Jack 



In this book I am placing before you 
the secrets of a trade I have followed for 
fourteen years. I have made as hig*h as 
$170 a day. It is a poor Steeple- Jack who 
cannot make at least $25 a day. If you 
have the ability, the appearance, and can 
approach a business man, you need not 
worry about getting his work. 

He is aware of the chances you are 
taking. He has work that must be done, 
and has an admiration for the man with 
nerve enough to accomplish what he 
would not undertake himself. 

Steeple-Jacks are always in demand. 
When I speak of Steeple-Jacks, I refer to 
men who comprehend that a certain thing 
up in the air needs attention, whether it 
is the reaving of halyards on a flagpole, 
the adjustment of a cross on a steeple, the 
replacing of a guy wire on a stack, the 
repairing of the hands of a clock on a 
tower, or the mere painting of any of 



10 THE STEEPLE-JACK'S INSTRUCTOR 

these lofty objects which ordinary 
workmen are not courageous enough to 
attempt. 

I know a great deal of this fascinating 
game, but I do not want to convey to 
you the thought that I know it ALL, for 
that is not the truth. Bear in mind the 
old adage: "We are never too old to 
learn." 

I call this work a game, because it 
appeals to me as a great game, although 
it is difficult work. People will gather 
in crowds on the street to watch a 
Steeple-Jack at his perilous duty. I use 
the word "perilous" because that is what 
it would look like to the man on the side- 
walk, but to one in the air it is just a trick 
to the trade, and he would not exchange 
places with the man w T ho is so eagerly 
watching every move he makes for fear 
that he may make a wrong move. 

While he is thus busily engaged watch- 
ing you, the following questions run thru 
his mind: "How in the world did he 
ever get up there?" "How can he stay 
up there so long?" His thoughts finally 



r:-:z 5tii?li ;a:ks : 77 :t? 11 

rur. f ::;-. t- ike :h "My, but he 

certainly is bra : 

7: : :;; :~: :erir:;:e ".*::;; S.eer'.e- 

Jacks I am convinced that they never like 
to be called "brave," because stunts that 
are pulled are all in the game, and it is no 

rerr-if ::: :-. Stte^f-fizk :: 

stack than for the individual to ride in an 
elevator, a motor car or train, for when 
we consider the number of people who are 
trusting to the safety of the above men- 
tioned conveyances, and the proportion of 
accidents in comparison to the number 
: 5:eple-Jacks and the accidents in con- 
nection with this trade the Steeple-Jacks 
are not at a disadvantage in respect to 

It is to the credit of the Steeple-J 

:hat he is Ic ss regal i- 

ing the dangers of his profession than the 
thoughtless traveling public 

The Steeple- Jack considers it no more 
irksome to go out on a job than the book- 
keeper to go to his desk or a bank teller 
to enter his cage. The only difference 



12 THE STEEPLE-JACK'S INSTRUCTOR 

between the Steeple-Jack and the book- 
keeper or bank teller is in regard to 
working hours. The Steeple-Jack's hours 
range from two to four a day, while those 
of the tradesman are from six to ten 
hours a day. The Steeple-Jack, whose 
day comprises about four hours (often 
less and seldom more) makes more money 
in his day than the average man makes 
in a week. 

As before stated, I have had consider- 
able experience in the line about which 
I write, and I therefore feel safe in saying 
that no man is worthy of the title of 
Steeple-Jack unless he can make at least 
$20 a day in days when he chooses to 
work less than the customary two to four 
hours. 

From my past experiences I have come 
to the conclusion that "time is money," 
and therefore my advice to any man who 
entertains the idea of going into the great 
game of a Steeple- Jack is to always bear 
that slogan in mind and never perform 
for the audience which you will undoubt- 
edly have watching you from the street. 



THE STEEPLE-JACK'S INSTRUCTOR 13 

Remember it is your time that is being 
taken up by the performance of whatever 
daring stunts you may be able to "show 
off/' and no matter how large an audience 
you may have, there are no benefits de- 
rived therefrom. 

The work of a Steeple- Jack has a great 
many assets besides that of being able to 
earn a great amount of money. With the 
exception of the money question, here are 
tw;o that will appeal to every man : First, 
it is healthful work, because you are 
always in the open air. Second, you have 
no boss. You are your own boss and may 
come and go when you please. However, 
I would not advise any man who is fol- 
lowing this work to assume too great an 
air of independence. We all concede that 
it helps to be a little independent at times, 
but always bear in mind that it is the 
privilege of the "other fellow" to assume 
an air of independence also, and, after all, 
YOU are dependent .upon his work. By 
that I do not mean just one individual, 
but I am taking your trade as a whole. 






14 THE STEEPLE-JACK'S INSTRUCTOR 

In business wie must give and take. Re- 
member that. s 

The Steeple-Jack's work is ordinarily 
performed on smokestacks, flagpoles and 
church spires. You will agree with me 
that there are very few who follow this 
line of work. Just to prove this to you, 
allow me to ask you a question: "How 
many Steeple-Jacks do you know?" Per- 
haps the answer will be "One," "Two," 
or "Three," and, again, it may be "Not 
any." I have worked in this business in 
every large city in the United States and 
I can candidly say that I have had very 
little competition and, in a great many 
cities, not any. 

Another important factor of this work 
is always to endeavor to please the man 
whose work you are doing and never to 
do cheap or skimpy work, for I have been 
convinced that cheap and skimpy work- 
manship gains nothing for you. How- 
ever, on the other hand, if you put forth 
your best and succeed in pleasing the man 
who is to be considered, you can always 
count on a renewed order the following 



THE STEEPLE-JACK'S INSTRUCTOR 15 

year. REMEMBER: Satisfy the other 
fellow first and you cannot help but sat- 
isfy yourself. 



16 THE STEEPLE-JACK'S INSTRUCTOR 

THE SMOKESTACK 



To a Steeple-Jack any stack, regard- 
less of whether it is composed of brick, 
steel or concrete, is a smokestack. Un- 
doubtedly you have heard these stacks 
referred to as chimneys; nevertheless, 
from now on we will call them smoke- 
stacks. 

Steel smokestacks are supported by guy 
wires. As a general rule two sets of guy 
wires support a steel stack, but I have 
often found a smokestack supported by 
three sets of guy wires. These guy wires 
consist of four wires to a set. 

There is supposed to be a wire which 
runs through a sheave from the top of the 
stock to enable the stack man to rig up. 
This wire is flexible and is called a gim- 
blet wire. Above all things, do not use 
this gimblet wire for ascending purposes; 
by that I mean in such a manner as to 
cause the weight of your body to rest 
upon this wire, as there is often great 
danger in an act of ,this kind. 

Read carefully the following few lines 



THE STEEPLE-JACK'S INSTRUCTOR 17 

and you will be convinced of the risk you 
are taking by endeavoring to ascend on 
the gimblet wire. 

If the gimblet wire in question has been 
in that position for a year, in all prob- 
ability it is rotten at the point where it 
runs through the hook at the top of the 
stack, and it would not take 'much weight 
to loosen it. So bear in mind, no matter 
how light or heavy in weight you may 
be, do not climb up on the gimblet wire. 

The following is a more simple and far 
more safe way of getting to the top: 

First of all, get a board from six to 
nine feet in length and two to three inches 
m depth. Take one end of the gimblet 
wire and tie it to the end of your board, 
and fasten the other end of the wire to 
the board about three feet from the end. 
Take your stack hook — a hook of good 
^-inch steel. This hook should be about 
fourteen inches long, the hook being six 
inches long; a five-inch opening with an 
eye opening of about two inches, so that 
you can hook your block and tackle to it. 
Attach your stack hook to the board on 



18 



THE STEEPLE-JACK'S INSTRUCTOR 



Ready to Pull the Rigging Up 

LENGTH OF RO&EL 

FROM BOARD 




Z-'/ x ft. loni 



The Boatswain Chair 



inch, 
thi ck 



THE STEEPLE-JACK'S INSTRUCTOR 19 

the side opposite to where your gimblet 
wire is fastened. Be sure the hook is 
turned towards the stack. 

When this is done, pull on the wire; 
that will draw up your riggings, reaving 
your block and falls out to the size of the 
stack, so as to enable you to keep them 
from twisting with the gimblet wire. 
Now, then, should this board be weak 
and break while you have your riggings 
near the top, to prevent them, from falling 
down and one end of the gimblet wire 
from running to the top, tie a heavy piece 
of cord to the end of the gimblet wire, 
running it to the other end of the wire, 
then fasten to your blocks. 

This will prevent a hard day's work 
untangling your riggings from the guy 
wires, should the board break. 

After drawing your rigging to the top, 
the board drawn tight up to the block on 
top of the stack, pull on the gimblet wire 
that is attached to the end of the board. 
This motion brings the end of your board 
bearing the hook and rigging up. In 
some cases, the stack being small in diam- 



20 THE STEEPLE-TACK'S INSTRUCTOR 




Tripping Riggings on 
Top of Stack 



THE STEEPLE- JACK'S INSTRUCTOR 21 

eter and the board being too long, the 
hook will stick far out from the stack, 
and with all hard efforts will not lodge it 
over the top. When you have this propo- 
sition to contend with, leave the stack 
about three or four inches on the gimblet 
wire that holds the board tight to the 
block on the stack. In some cases you 
have to drop the board as far as from 
two to three feet below the block, in 
order to get your hook in a position 
where it will settle over the top of the 
stack with the hooked part inside of the 
stack. 

This is very important. Be sure that 
the hook is not only setting on top. This 
can be determined by twisting all four 
lines, making them one bundle; then by 
giving the lines a few switchings back 
and forth in all directions. When this is 
done and you have fully convinced your- 
self that the hook is properly over the top, 
then your next move is to start for the 
top. 

If it is your first time in a boatswain 
chair, I would suggest that you sound 



22 THE STEEPLE-JACK'S INSTRUCTOR 

yourself first as to dizziness. This can 
very easily be done by the following 
method: 

Stand along the side of the stack, 
throwing your head to one side and look- 
ing up, allowing your eyes to follow the 
stack and the clouds, shaking the head at 
different times. This brings on dizziness. 
Then stand erect, so as to clear your head. 
After getting into the boatswain chair, 
you place the fall line of your riggings — 
that is, the line with which you draw 
yourself up— between your legs. This 
enables you and your helper to pull more 
steadily together, and you get to the top 
much quicker. 

I have noticed that the majority of 
stack imen regard this as the most difficult 
part of the job — drawing to the top. 
Once up, the job is half done. 

After you reach the top of the stack, 
the first thing to be done is to cut away 
the string that holds the stack hook to 
the board. You then lower the board 
to the ground. Still tied by the wire to 
the board for further use in case you want 






THE STEEPLE- JACK'S INSTRUCTOR 23 

to trip off with it when the job is finished. 
There is still an easier way, which I 
will explain later. Now we will say the 
work you are to do is paint. For your 
information I will say that oil paint is 
preferred by Steeple-Jacks for several rea- 
sons, some of which are: It is easy to 
apply in all kinds of weather; you are 
hound to get plenty of it in the face, and 
it is easier to wash off than tar. From 
my personal experience I have found that 
graphite and oil preserve a steel smoke- 
stack better than any other. You will 
come in contact with people who will dif- 
fer with you as to this point; however, 
when you meet with a difficulty of this 
nature, give the man what he asks for. 
If he wants water, give him water; if he 
desires to have tar, give it to him, but if 
he wants something good, then suggest 
an oil paint. Graphite and oil — the pre- 
servable. 

A great number of men with whom you 
deal will say: "I want tar on my stack." 
I have learned from my own personal 
experience that the answer which will in 



24 THE STEEPLE-JACK'S INSTRUCTOR 

nine cases out of ten take with the man 
with whom you are dealing is something 
on this order: "If you want tar, all right, 
but it will cost you more money." He 
will immediately confront you with a 
question similar to this: "Why is that?" 
Your reply should be: "If I put tar on 
your smokestack and come back next year 
for your work, you will refuse me, because 
tar blisters in places and rust forms under 
the blisters, which prevent the rust from 
being seen, and in a few years there are 
holes in the stack, whereas an oil paint 
wears off, showing the rust spots." 

However, I am running away from my 
story. We will go back to the top of the 
stack. You look down, getting straight 
ab'ove a guy wire, reach over as far as you 
can and paint, leaving the space directly 
in front clear; drop down about ten feet, 
painting as you go; draw up to the top 
again, switching the stack hook over and 
directly above the next nearest guy wire. 
In order to accomplish this, take an extra 
hook similar to your stack hook and 
about seven feet of ^2 -inch line. Place 



THE STEEPLE-JACK'S INSTRUCTOR 25 




Changing Positions on 
Top of Stack 



26 THE STEEPLE-JACK'S INSTRUCTOR 

the extra hook over the top; tie the other 
end of the sling to the rope of your boat- 
swain chair, making it good and secure. 
Then lower your weight from your rig- 
ging until it rests on the extra hook and 
sling. You then draw your regular stack 
hook up to the extra hook. When this is 
done you pull your weight again to your 
riggings and push the extra hook around. 
Do this until you get to the position you 
want, just above the next nearest guy 
wire, repeating the same as you did above 
the other guy wire, painting about ten 
feet down. When this is done, draw back 
to the top, using the same method to get 
over to the middle of the two spaces you 
have painted. 

Then start to paint between the two 
spaces already completed. By so doing 
you are able to make a larger sweep on 
your way down. In order to make time 
on a stack it pays to have a helper on 
the ground, so as to take the end of the 
fall line or handy line and pull you around 
and by doing this also help to keep you 
in to the stack, which enables one to work 



THE STEEPLE-JACK'S INSTRUCTOR 27 

to a better advantage and much quicker. 
Remember, "Time is money/' and there 
is lots of it to be made. 

The opportunity is there. Tradesmen 
of- all walks of life say: "Gee, business is 
dull in my trade. If I only had the oppor- 
tunity that some people have." A 
Steeple-Jack should never say that, be- 
cause there is always work to be done on 
a smokestack the year 'round. Don't be 
afraid to ask for it, and also a price. 
Yours is not a common trade. It takes 
brains, brawn and nerve, so don't permit 
your nerve to fail you when you are 
asking a price. 

Another thing to be careful of is not 
to allow your rope to get caught and 
tangled in the end of a guy wire attached 
to the stack at the band. Should this 
happen, it may put you in a very hazard- 
ous position. Give this a glance now and 
then and, should such a thing happen, do 
not get excited and start tugging. The 
more you tug, the tighter it gets. Have 
someone to switch it out from the ground. 
It is possible to do this from the air. 



28 THE STEEPLE-JACK'S INSTRUCTOR 




Showing Falls Caught in 
Guy Wire 



THE STEEPLE-JACK'S INSTRUCTOR 29 

High wind is the Steeple-Jack's great- 
est enemy. It is only a fool who would 
attempt to rig a smokestack when the 
wind is blowing a gale; in fact, it is almost 
impossible to work in a high wind. More 
work can be accomplished in one-fifth of 
the time on a calm day. "Time is 
money," but always take time when your 
life is at stake. Always keep in mind the 
motto: "Safety First." 

When tying up your riggings for the 
night, and it might be calm at the close 
of the day. Weather changes in a very 
few minutes at times. To safeguard 
against the rope from wearing against 
the stack and guy wares, walk out about 
fifteen feet from the stack, taking a piece 
of extra sling. Tie the sling to some 
object that is solid, throw two half-hitches 
with your fall line around the riggings 
just above the single block. When this 
is done, pass the sling which you have 
tied to some object through the hook of 
the block, making it fastened to the block. 
Then pull the slack out of your riggings 
with the fall line, at the same time keep- 



30 THE STEEPLE-JACK'S INSTRUCTOR 

ing the two half-hitches just above the 
block. Do not take up all the slack; leave 
some play in your lines, using your own 
judgment as to whether the lines will 
come in contact with the guy wires. The 
weather will shrink the line more or less. 



THE STEEPLE-JACK'S INSTRUCTOR 31 

TO RIGG A STACK WITHOUT A 
GIMBLET WIRE 



When this proposition confronts you 
it may look to you like a job not worth 
fooling With. It can be done and, on 
some stacks, almost as quickly as with 
a gimblet wire. 

There are a number of ways to rig 
without the aid of a gimblet, of which I 
will show you two of the quickest and 
most simple. 

Look over your guy wires and pick out 
the most solid of the lot running to the 
top band. Make sure of its anchorage. 
There are supposed to be two clips at 
each end of a guy wire where it is con- 
nected to the turn-buckle, and at the band 
place the double block without the stack 
hook on the guy wire. 

Tie a long and heavy line to the block. 
Take this line, passing it around all the 
guy wires with the exception of the one 
the block and falls are attached to. Then 
reave out your line to what you would 
figure the length of the stack to be. 



32 THE STEEPLE-JACK'S INSTRUCTOR 

You then take hold of the line that is 
around the guys, pulling on it and at the 
same time switching on your rigging. 
Unless the guy wire is slanting at about 
45 degrees down, your rigging will slide 
up very easily. 

With this system it is possible to get 
your rigging to within a very few feet 
of the top band, then tie off your tug line, 
be sure to some object that is good and 
solid. Remember your weight will be 
on that, and also your life. 

SAFETY FIRST always. You only 
fall once. Use every safety device avail- 
able. Remember this book only tells you 
how to rig, but it takes common sense 
while following these methods, and that 
is, take no chances where you think a 
thing will hold. Be sure it hofds. 

The first thing to do when getting into 
the boatswain chair is to see that your 
lines are not twisted, Have your helper 
walk out some fifteen or twenty feet from 
the stack. Take the fall line with you 
on your way up. The stack hook, extra 



THE STEEPLE-JACK'S INSTRUCTOR 33 

hook, sling string, small stick, hang line, 
and you are ready. 

Quite a load going up! After placing 
the line between your legs and your 
helper stands away out, this helps to avoid 
the twisting of your line. While going 
up remember this : A very steady pull, 
the two pulling together. Long grabs 
and jerks are liable to prove disastrous, 
as it may cause the line to snap. Half- 
inch line has tremendous straining power; 
nevertheless, there are flaws in rope and 
rope also rots. 

My first experience on a stack I remem- 
ber I wanted to buy 1^-inch line. Now 
wouldn't I have had a wonderful time 
trying* to get that ton of rope to the top 
of a smokestack! Since then I have used 
^4-inch rope, but that is too small. At 
any rate I had the correct idea of "Safety 
First" at the beginning. However, y 2 - 
inch is the proper size for a job not over 
two hundred (200) feet high. 

Now, when nearing the top guy wire, 
have your helper slack up, allowing you 
to continue the pull alone. When the two 



34 THE STEEPLE-JACK'S INSTRUCTOR 

blocks are together tie a safety line to the 
wire. Tie the extra hook to the stick and 
the end of the sling to your chair, then 
in the hook, passing the hook over and 
in the eye of the band. Pull the stick 
away from the hook. You then tie the 
stick to the block attached to the guy 
wire. After this is done, lower yourself 
until your weight rests on the line hooked 
in at the band. 

Make sure when lifting the riggings 
away from the wire that they don't fall, 
leaving you up there in a great predica- 
ment. If this should happen, you will 
agree with me on that point. 

Experience is a great teacher. I have 
had this experience: On lifting the block 
away from the wire, place it in the eye 
of the band; also draw yourself up close 
to the band. Untie the sling, tying it 
closer to the hook, then draw up a long 
pole — the size you figure you will need 
to reach the top with. Tie the stack hook 
to the pole; put the block and falls in the 
hook; push it to the top. 

Now r , not in all cases is this as easy to 



THE STEEPLE-JACK'S INSTRUCTOR 35 




Poling to the Top of a Smokestack 



36 THE STEEPLE-JACK'S INSTRUCTOR 

do as to say. If the top is only fifteen or 
twenty feet from the band, it can be done 
without much effort, but should it be a 
reach of thirty or thirty-five feet, I would 
suggest the following method : 

Tie a hook to the pole just so it will 
stay on. A light hook is required for this. 
Place your handy line through the eye of 
the hook. Tie the handy line end down 
about eight feet from the top of the pole, 
then lash yourself to the band, pull your- 
self up and stand in the chair, throwing 
one leg over the guy wire. Make yourself 
good and solid, spread your feet out in 
the chair. Do not have them together. 
This sometimes prevents the chair from 
sliding to one side. Above all remember 
never to let your riggings get away from 
you. You are in a mighty tiresome posi- 
tion. Always be sure to have a handy line 
with you in making a reach of thirty or 
thirty-five feet. Figure your pole, which 
is only two by two or so, is easily broken 
in a little wind. I have had poles break 
eight or ten times before reaching the top 
of a stack. 



THE STEEPLE- JACK'S INSTRUCTOR 37 

Now, in pushing the pole up with a 
handy line, always wait until the wind 
ceases for a second, then up with it. This 
has to be done quickly. With the pole 
leaning against the stack once over the 
top, pull the pole away from the light 
hook, lower the pole until the top end is 
at the band. Tie on the hook and block, 
then, with the handy line now over the 
top, pull on it and at the same time push 
on the pole with a steady push and pull. 
The rest is very simple. After this is 
accomplished, undo yourself from the 
band, lowering yourself into the boat- 
swain chair. Hook up the riggings to 
the chair, start for the top, cut away the 
pole, lower it down and start your work. 



38 THE STEEPLE-JACK'S INSTRUCTOR 




Climbing Guy Wire with Slings and Chair 



THE STEEPLE-JACK'S INSTRUCTOR 39 

HOW TO CHANGE THE RIGGINGS 



When completing one side of a stack 
and in order to get the tackle to another 
position on the stack, twist the rope, mak- 
ing it all in one; then leave a little slack 
to make a snake whip movement towards 
the top, and you will have the satisfaction 
of seeing your rigging move around on 
the top. If the wind is blowing hard, per- 
haps you will have to do several of the 
switching movements before getting the 
hook to start to move. Then take the line 
around the guy wire and you are ready 
for the next set. 



40 



THE STEEPLE-JACK'S INSTRUCTOR 

STEEL STACKS WITH BRICK 
LINING 



You will encounter a little difficulty in 
the shifting of your riggings from the 
ground when you are working on steel 
stacks with brick linings. In fact, you 
will save time by not trying to shift from 
the ground. If the brick extends all the 
way to the top, you will have to have a 
hook large enough to spread over the 
steel and brick. 

It is wise to go to the top, whether you 
have to tow it over fresh paint or not. In 
doing this you have your helper walk out 
some fifteen or twenty feet. You then 
place your legs around the fall line; after 
this is done both you and your helper pull 
together. 

In this movement you are going up 
backwards with your back towards the 
stack, until about half way up; then turn 
with your face towards the stack. Daub 
the tips of your shoes with paint; this 
helps to cover up the prints of your shoes 
on the fresh paint. If you do not comply 



THE STEEPLE-JACK'S INSTRUCTOR 41 

with this rule, the print of your shoes on 
the fresh paint will look from the ground 
as if those spots had never been painted, 
and would tend to leave a bad impression 
as to your workmanship with the man for 
whom you are doing this work. Neat and 
impressive work draws more returns. On 
reaching the top an equal size hook is 
required, as aforesaid, with the sling, 
afterward having your helper take the fall 
line over the guy wires and you are ready 
to do another set. 



42 THE STEEPLE-JACK'S INSTRUCTOR 

SMOKESTACKS WITH LADDERS 



There is no use of going into detail 
about rigging a stack that has a ladder 
on it. This ean be answered in a very few 
words : Walk up the ladder and hook the 
rigging over the top. But there is this 
much about it — Watch your step ! These 
ladders after a few years become very 
rusty and the bolts where connected from 
the inside are sometimes eaten away by 
the gas from the coal, and just a little 
weight on them might cause the handles 
to give way. So always remember to be 
very careful when climbing a smokestack 
that has a ladder connected to it. 



THE STEEPLE-JACK'S INSTRUCTOR 43 

STEEL STACKS DECAY AT BAND 



You will notice that as a general rule 
steel stacks commence to weaken at the 
first half-dozen sections from the top 
downward, or at the band. The rain 
hitting the in- and outside from the top, 
and lying around the band, is causing the 
rust to form more quickly than on any 
other part of the stack. This accounts 
for the aforesaid parts weakening the 
quickest. 

It is always wise to sound a stack at 
the top and band so as to determine 
whether it will stand much tugging or 
bouncing upon. If it looks weak and you 
make up your mind that you will go 
through with what you are doing, I would 
suggest that you do all the pulling and 
take just what tools you can possibly get 
along with, 



44 THE STEEPLE-JACK'S INSTRUCTOR 

REGUYING 



To reguy a smokestack it is necessary 
to have these parts before the job is really 
called complete: Turn-buckles for the 
bottom ends of the guys and clips for both 
ends. Although you can guy a smoke- 
stack without these articles, it is best to 
have them. Without the aid of the turn- 
buckle to draw the slack out of the guy 
wires, a device like this can be used: 
Lash the guy wire with a sling, using two 
half-hitches so as to grip the wire. Tie 
a bowline knot at the opposite end so as 
to enable you to attach the block and 
fall, placing the opposite block in the eye 
of the guy wire anchor, then by pulling 
on the fall line, this takes the slack from 
the wire, even with the turn-buckles. 
Sometime you will have to resort to this 
method in order to take up the loose 
slack. 

When guying a stack the first thing to 
do is to place the spool that holds the 
wire between two boxes of equal size. 
Take your handy line and a small single 



THE STEEPLE-JACK'S INSTRUCTOR 45 




IBiSili 



46 THE STEEPLE-JACK'S INSTRUCTOR 

block when going up to attach the guys; 
hook this single block to the eye of the 
band at the position where you are to 
work; have your helper tie the handy line 
about three feet down from the end of 
the guy wire, and then bend the w T ire 
double. You then have your helper do 
the pulling up of the guy wire. Should 
you do the pulling while sitting in the 
chair, you would soon notice the strain 
from it in the stomach. As you have 
nothing under the feet to press the strain 
there, it really falls to the stomach to 
receive all the hard work. Always leave 
some slack to the guy wire. 

A stack must vibrate to a certain ex- 
tent, therefore if the guy wires are drawn 
as tight as they possibly can be, the 
chances are the result would be a broken 
wire or an anchor giving way. 

In using clips to fasten the wire at both 
ends, they should be a size larger than 
the guy wire, and when clips are not avail- 
able, allow about two feet over. After 
passing guy wires through the eye of the 
band or the eye of the anchor, take a piece 



THE STEEPLE-JACK'S INSTRUCTOR 47 




^&sss& 



Helper Pulling Guy Wire Up to Stack Band 



48 THE STEEPLE-JACK'S INSTRUCTOR 

of gas pipe of a size that will slip down 
over the guy wire some foot or a foot and 
a half, then twist the end of the guy wire 
with the gas pipe around the other part 
of w r ire that extends down. This is a 
wonderful way to fasten the wire to the 
stack, and will last as long as the stack 
will. 



THE STEEPLE- JACK'S INSTRUCTOR 49 




Turning Guy Wire with Steel Pipe 



50 THE STEEPLE-JACK'S INSTRUCTOR 

TRIPPING THE RIGGINGS 



Tripping the riggings off the stack 
after the job is completed takes only the 
work of a few minutes. See to it before 
making the last trip up that you have that 
necessary appliance with which to save 
you a few unnecessary trips up and down. 

Take a small steel bar about J^-inch 
in size and bend it into the shape of the 
letter S. Judge the diameter of the band 
on top of the stack; make the hook so it 
will fit snugly on top. This hook should 
not be over five inches long. After plac- 
ing the trip hook on the stack, take your 
handy line, lay it on the hook, tie the end 
of your line in the eye of your stack hook, 
then tie up about two inches above the 
eye in several places. The last two tie- 
offs will prevent the stack hook from fall- 
ing to one side. 

After leaving the stack, have your 
helper tie the handy line away from the 
stack. This flopping back and forth will 
annoy you while at work. After you have 



THE STEEPLE-JACK'S INSTRUCTOR 51 




Handy Line Attached from S Hook to Stack Hook 



52 THE STEEPLE-JACK'S INSTRUCTOR 




Results of Turning Hook 
in Wrong Direction 




THE STEEPLE-JACK'S INSTRUCTOR 53 




Hook Turned in Proper 
Direction for Tripping 



54 THE STEEPLE-JACK'S INSTRUCTOR 

finished and are ready to trip, twist the 
rigging until it is twisted all the way to 
the top. In doing this twist the rope so 
that the stack hook will turn out and 
away from the trip hook. This is import- 
ant. Leave slack on the riggings at the 
same time. Do not let it untwist. Then 
take the trip line, pull steady on it, until 
you see the stack hook raise up and over 
the stack. Then lower on the trip line 
until you see the stack hook is off and 
below the top of the stack. Then let go 
of the riggings so they will untwist; lower 
away; untie the handy line from the block 
hook; then pull one end of the handy line 
to the top. It will go through the small 
S up there and fall to the ground, leaving 
the small S hook on top of the stack. 



THE STEEPLE- JACK'S INSTRUCTOR 55 

SELF-SUPPORTERS 



Steel smokestacks are generally sup- 
ported by guy wires, although there are 
some steel stacks without guy wires, 
which are called self-supporters. 

Self-supporters taper at the base and 
have an extra heavy foundation and a 
ladder to enable you to climb to the top, 
although in my travels I have come in 
contact with one self-supporter that had 
neither ladder nor gimblet wire. Fortu- 
nately this self-supporter was very small 
in diameter. 

In order to make the top of this par- 
ticular stack I had to rely on an extension 
ladder, working my way up by degrees; 
first lashing the ladder to the stack, ex- 
tending it as far as safety would permit, 
then lashing the stack again with an extra 
large sling about j^-inch, making a bow- 
line knot and with a sling to both sides 
of the ladder I used the block and fall, 
pulling the bottom part of the ladder up 
as far as possible, lashing off again, then 
pushing the top part up. 



56 THE STEEPLE-TACK'S INSTRUCTOR 




| PM 




Ladder Lashed to Self-Supporting Stack 



THE STEEPLE-JACK'S INSTRUCTOR 57 

After making the lower half of the 
extension ladder solid at the top and bot- 
tom so as not to permit it to sway to 
either side, climb the top half of the lad- 
der, lashing* the stack again, and repeat 
as before. Guy wires have to be replaced 
from time to time, as these wires rust and 
fall down, leaving the stack to the mercy 
of the winds, if not attended to before 
they become so badly decayed. 

As stated before, stacks that are sup- 
ported by guy wires have from one to 
three sets, and generally four wires to a 
set. A j4-inch galvanized wire is suffi- 
cient for any stack, although some people 
prefer a larger size wire for double 
safety. 



58 THE STEEPLE-JACK'S INSTRUCTOR 

KNOTS 



Knots are a very important factor in 
the Steeple-Jack's life. Only knots that 
have been properly tested should be used. 
Many a terrible disaster has been caused 
by the use of a knot which was quickly 
invented by a man and never tested. 
Avoid such accidents by learning to tie 
knots in the proper fashion. 

Slip knots are bothersome as well as 
dangerous to both the person working in 
the air and the people walking under- 
neath. There are very few knots that are 
useful to the Steeple-Jack, and it is well 
for every man following this trade to 
learn to make these few knots well and 
thereby avoid delay when in need. 

For instance, if you were on the top 

of a stack and saw a part of your rigging 
that did not look any too safe, or you 
were near a band and saw your hook was 
only sitting on top of the stack and not 
inside, as it should be. A sling and the 
knowledge of tying knots properly is 



THE STEEPLE-JACK'S INSTRUCTOR 59 

required. Practice until you are thor- 
oughly familiar with this important part 
of your trade. 



60 THE STEEPLE-JACK'S INSTRUCTOR 

SQUARE KNOT 

As I said before, slippery knots are 
bothersome in many cases. When you 
vise the slip knot the only way to get 
it out is to cut the line; then you are dis- 
figuring the line or shortening it. 

The square knot and the bow-line knot 
are the ones most commonly used. 

In tying- a square knot take the ends of 
the rope, passing the left end over and 
under the right, and then take the right 
end and pass it over and under the left. 

In trying to make the square knot there 
often forms what is known to line men 
as "the granny," which is useless for any 
hazardous purpose. Follow the instruc- 
tions of right over and left over and you 
can't go wrong in making the best-liked 
knot of all— the SQUARE KNOT. 

In using the square knot while work- 
ing in the chair, make two half hitches in 
each end of the line. This is used to in- 
sure double safety. 

When using the square knot for the 
purpose of adding more line to the rig- 
gings, tie both ends of the lines (as illus- 
trated on page 61. 



THE STEEPLE-JACK'S INSTRUCTOR 61 




Square Knot 




Granny Knot 




Square Knot Sized 
at Both Ends 



62 THE STEEPLE-JACK'S INSTRUCTOR 

BOW-LINE 



A more efficient knot than the bow-line 
knot was never known. This knot is 
used more than any five knots put to- 
gether in the Steeple Jack's work. 

The bow-line knot is mostly favored in 
climbing a flagstaff, when making the 
stirrup to climb, and in many ways for the 
smokestack. 

In making the bow-line knot follow the 
illustrations according to numbers. In 
No. 1 the rope is formed in a bight; pass 
No. 1 through the bight under then over 
and then under, as illustrated in No. 2; 
then over and down through the bight as 
illustrated in Nos. 3 and 4. Draw tight 
as illustrated on page 63. 

As I said before, the bow-line knot is a 
very useful knot on the flagpole. By 
placing the sling around the pole, passing 
the end through the eye, then make your 
bow-line knot, leaving the loop for the 
size of your foot so as to slip your foot in. 



THE STEEPLE-JACK'S INSTRUCTOR 63 




How to Tie the Bow-line Knot 



64 THE STEEPLE-JACK'S INSTRUCTOR 

HALF HITCHES 



The half hitch is used very frequently 
by the Steeple Jack, especially in tying off 
the riggings for the night or pulling up 
a pole or paint. In making the half 
hitches, pass the end around the object 
you are tying, then over and around, 
standing part between the object and it- 
self; then under and around the standing 
parts and between own loop and the one 
first formed. It is no more difficult and 
takes no longer to make this knot than it 
does for you to count three. Illustrations 
on page 65. 



THE STEEPLE-JACK'S INSTRUCTOR 65 





Half Hitch 



66 THE STEEPLE-JACK'S INSTRUCTOR 

THE BLACK WALL 

The Black Wall, known by many as 
the chair hitch, is used by the Steeple 
Jack while working in the chair up or 
down; stopping to rest or work, reach 
through the rope of your chair, grab the 
fall line by the right hand, pulling it 
through between yourself and the rope of 
your chair. At the same movement turn- 
ing the rope from left to right making a 
loop in this movement, reach up and set 
it on the hook of the block at the chair; 
while doing this reach with the left hand 
and hold your four lines tight together. 
This prevents you from going down while 
making the Black Wall or chair hitch, as 
it is commonly known. 




Black Wall Knot 



THE STEEPLE-JACK'S INSTRUCTOR 67 

TANKS, TOWERS AND STAND- 
PIPES 



Water tanks, water towers or water 
standpipes are an easy matter to work 
on as far as the rigging is concerned, but 
not as much money is to be made as on 
smokestacks, church steeples and flag- 
poles. Nevertheless, they are worth so- 
liciting. 

Take, for instance, a water tank. A 
water tank consists of only the tank itself 
sitting on a flat roof or ground. Water 
tanks vary in size. 

We will say a tank twelve (12) feet in 
diameter, fifteen (15) feet in height, with 
very little rust scales. This tank can be 
painted in about three hours and requires 
no more than three and one-half gallons 
of oil paint. I have received as high as 
Sixty ($60.00) Dollars for a few hours' 
work on tanks of this kind. 



68 THE STEEPLE-JACK'S INSTRUCTOR 




Painting Water Tank 



THE STEEPLE-JACK'S INSTRUCTOR 69 

Standpipes are more on the order of 
smokestacks. Some have brick founda- 
tions running up a third of the way and 
again others have brick half of the way 
up and the other half steel, while you find 
some that are all steel from the bottom 
to the top. 

All standpipes have ladders going to the 
top, therefore it is an easy matter to rig 
such standpipes w r ith a set of falls and 
work in a boatswain chair. 

For an example we will take a stand- 
pipe that is made of steel and, that is one 
hundred and twenty-five (125) feet in 
height, twelve (12) feet in diameter. A 
standpipe of this kind would require about 
eighteen (18) gallons of oil paint. It 
would take one man working in a boats- 
wain chair about three and one-half 
(3^) days. It is always safe to ask 
about $250.00 for a job of this nature. 



70 THE STEEPLE-JACK'S INSTRUCTOR 





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Painting Standpipe 



THE STEEPLE-JACK'S INSTRUCTOR 71 

WATER TOWERS 



A chair man considers a water tower 
more difficult to work on than the two 
mentioned previously. 

The majority of water towers are sup- 
ported by four stiff legs. Some have 
more and very few less. You will find 
very few water towers that stand less 
than one hundred and fifty (150) feet 
high. 

To paint a water tower it is best to 
start on the tank proper, tying a rope 
over the ball or pole that extends from 
the top of the tank, allowing enough rope 
so that it will extend to the edge of the 
roof of the tank, then attach the block 
and falls to same. Take the other end of 
the rope, which is attached to the top of 
the tank, running it down on the oppo- 
site side from where you are going to 
work, and there fasten it securely to the 
beam under the platform to the other 
side. 

Attach the riggings at the top of each 



72 THE STEEPLE-JACK'S INSTRUCTOR 

WATER TOWER 




RISER PIP 



THE STEEPLE-JACK'S INSTRUCTOR 73 

stiff leg to the platform while working 
down the leg supports. 

It takes considerable time and plenty 
of patience when working on a water 
tower. 

A water tower one hundred and fifty 
(150) feet high with four stiff legs and 
the tank proper about twelve (12) feet 
in diameter by twenty (20) feet in height 
will require in the neighborhood of twen- 
ty-five (25) gallons of oil paint. It will 
take one man approximately four days 
and a half (4^). It should not be diffi- 
cult for you to secure about Three Hun- 
dred and Fifty ($350.00) Dollars for a 
job of this kind. 



74 THE STEEPLE-JACK'S INSTRUCTOR 

CHURCH SPIRES 



A tapering construction and not a hard 
job to rig after once tried. If you are 
capable of rigging a church spire, then it 
is an easy matter for you to rig a church 
dome or any other structure of that 
nature. 

For the majority of church jobs an ex- 
tension ladder is the handiest article. 
After drawing the extension ladder up to 
what is known to the Jack as the pigeon 
hole window in the church spire, build 
your platform from the window with 3x4 
lumber, extending it out some six feet; 
lower a line down on both sides of the 
window r , having your helper tie the two 
ends together around the lower section 
of the spire. Then by drawing it to the 
window you will have your first loop 
around the steeple. Place the extension 
ladder on the platform; nail two boards 
to the inside of the window, then attach 
other ends of boards to the ladder. Use 
all the safety devices available when 
going out on the ladder. Lash the ladder 



THE STEEPLE- JACK'S INSTRUCTOR 75 




Showing Ladder Position from Pigeon-hole 
on Spire 



76 



THE STEEPLE-JACK'S INSTRUCTOR 



wherever it is possible and also yourself 
by placing a line under the arms and 
tying the line that you have around the 
spire, working it up as far as you can go, 
then lash this to the ladder so as to keep 
the ladder from swaying to the left or 
right. 

An extension ladder will bring you 
within a distance from which you can 
easily lasso the spire. Then by using the 
system already mentioned in the self- 
supporting stacks without ladders you 
will be in a position to accomplish any 
work you are on the spire for. 



THE STEEPLE-JACK'S INSTRUCTOR 11 




Showing Where Riggings Should 
Be Lashed at Top of Spire 



78 THE STEEPLE-JACK'S INSTRUCTOR 

THE FLAGSTAFF 



Although the flagstaff is the most sim- 
ple part of the Steeple Jack's work, at the 
same time it is the most dangerous. 
Before climbing a wooden pole look all 
around it first to see if any cracks are 
visible. In all probability there are, as 
most wooden poles are cracked. If the 
crack runs up and down then the pole is 
safe, unless it is dry rot, but if the crack 
runs crosswise on the pole watch your 
step. Chances are it will hold, but again 
it might not. Watch your step, because 
no one will watch it for you. Remember, 
a man can only fall once. 



THE STEEPLE-JACK'S INSTRUCTOR 



79 



BA L-l_ 

SPINDLE 

TRUCK 




80 THE STEEPLE-JACK'S INSTRUCTOR 

THE STAFF 



The flagpole is composed of the fol- 
lowing parts: The pole ball, spindle, 
truck, sheave, cleat, brace and halyard. 

The halyard is the rope with which the 
flag is drawn up to the top, and it is never 
used for climbing purposes. The art of 
climbing a flagpole with ease and per- 
forming that which is to be done upon 
the pole will be explained in detail 
later on. 

The ball on the top of the staff plays 
no important part. It is used more for 
ornamental purposes than anything else. 

The spindle is the rod that runs from 
the ball through the truck into the pole. 

The truck holds the sheave. 

The sheave holds the halyard. 

The cleat is for the purpose of tying 
the halyard to a few feet from the base 
of the pole. The majority of poles have 
iron braces for support connected about 
six (6) feet up from the base of the pole. 

From experience I find the steel pole 
the most dangerous. In my opinion it is 



THE STEEPLE-JACK'S INSTRUCTOR 81 

more dangerous than the wooden pole for 
the reason that rust forms inside of the 
steel pole and around the bands where it 
is connected, and in the winter time it is 
easily broken by the cold weather if any 
weight is put on it, whereas the wooden 
pole can be tested by sounding it as to its 
condition. 

If the wooden pole has the dead sound 
it is in all probability dry rot, and with a 
pole of this kind I would advise you to 
be extremely careful. Never sway such 
a pole any more than you absolutely must, 
and take plenty of time in climbing it. A 
pole in this condition gives no warning 
before it breaks, but a pole with plenty 
of sap gives a cracking sound before it 
gives way, which gives the man working 
on it a chance to slide to a more secure 
position. 

A boatswain chair and two slings are 
the only tools necessary to work on a 
flagpole. Take two slings made of at 
least J^-inch line, splice an eye in the 
end of each sling — the eye being about 
two inches in diameter; place the sling 



82 THE STEEPLE-JACK'S INSTRUCTOR 





Climbing Flagstaff 
With Slings 



THE STEEPLE-JACK'S INSTRUCTOR 83 

around the pole, drawing the end opposite 
from the eye through the eye; do likewise 
with the other sling; tie the boatswain 
chair to the top sling, allowing five inches 
from the rope of the boatswain chair to 
the eye of the sling; tie a loop in the end 
of the lower sling — tying a bow-line knot. 
This is called a stirrup. Leave the same 
distance from eye to knot as from the 
chair to the knot. Get into the boatswain 
chair. 

The first thing to do is to see that the 
loop around the pole is as tight as it will 
go. Then place your foot in the stirrup, 
take hold of the pole to steady your- 
self, raise up in the stirrup, and with the 
right hand push the sling holding the 
chair up, again making the sling tight to 
the pole. Sit down in the chair, reach 
down and pull the stirrup sling up until 
you can get your foot in. Repeat these 
movements and you will see how simple 
it is to climb without exerting yourself. 

At every movement going up and com- 
ing down make sure that the sling that 
holds the chair is secure and thereby pre- 



84 THE STEEPLE-JACK'S INSTRUCTOR 

vent it from slipping down. Should it 
be loose and slip down and your foot in 
the stirrup, the result would undoubtedly 
be that you would be dangling in the air 
head down. Avoid all of this by taking 
every precaution. 



THE STEEPLE-JACK'S INSTRUCTOR 85 

TOP OF POLES 



At any time you are working on a flag- 
pole and the work consists of replacing 
a truck, ball or spindle, the only thing to 
do is to make sure of the pole being solid 
enough for a little swaying. If so, take a 
sling, lash yourself to the pole under the 
arms as a back brace, then reach up and 
pull yourself up and stand in the chair. 
Avoid shaking the pole as much as you 
possibly can. Then draw up the saw. 

Saw off about one foot of the top, take 
a brace and bit, drill the holes, chip off 
around the edges and set your new truck 
on. The spindle should be set about from 
8 to 10 inches down in the pole, then 
wedge in with small sticks to make it 
solid. 

In painting a flagpole use the halyard 
to hold your paint. Twist the rope sev- 
eral times to keep it at the same distance 
as yourself. In painting a pole work 
down as you work up. 



86 THE STEEPLEJACK'S INSTRUCTOR 



Working the Top 
of a Flagstaff 



THE STEEPLE-JACK'S INSTRUCTOR 87 






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88 THE STEEPLE-JACK'S INSTRUCTOR 




Come-along Used for Tightening Guy Wire 




Double Steel Ball-bearing Block Is 
Preferred by the Stack Man 



THE STEEPLE-JACK'S INSTRUCTOR 89 




Single Steel Block 




Clip 




Guy Wire with Clips 



90 THE STEEPLE-JACK'S INSTRUCTOR 
Turn-buckle 




Gimblet Block 



f 




Extension Ladder 



THE STEEPLE-JACK'S INSTRUCTOR 91 

PRICES TO CHARGE FOR WORK 



Prices vary in the different parts of the 
country, so it is really difficult for me to 
give you exact pointers on that, but we 
will take for an example a smokestack 
one hundred and fifty feet (150) feet high, 
six (6) feet in diameter, in six sections of 
the United States. These prices are fig- 
ured on the basis as follows (the firm or 
individual for whom you are doing the 
job is to furnish the paint under these 
prices) : 

New York, N. Y $130.00 

Chicago, 111 170.00 

Denver, Colo 170.00 

San Antonio, Tex 140.00 

New Orleans, La 135.00 

San Francisco, Cal 130.00 

The following prices are used as to 
flagstaffs sixty (60) feet high: 

New York, N. Y $35.00 

Chicago, 111 40.00 

Denver, Colo 40.00 

San Antonio, Tex 35.00 



92 THE STEEPLE-JACK'S INSTRUCTOR 

New Orleans, La 35.00 

San Francisco, Cal 35.00 

With reference to forty (40) foot staffs, 
use the following schedule: 

New York, N. Y $25.00 

Chicago, 111 30.00 

Denver, Colo 30.00 

San Antonio, Tex. . 25.00 

New Orleans, La 25.00 

San Francisco, Cal 25.00 

As above stated, these are not standard 
prices, but it is safe for you to quote your 
prices along these lines. 



THE STEEPLE-JACK'S INSTRUCTOR 



93 



NAMES OF KNOTS, BENDS, 
BIGHTS AND HITCHES 



Black Wall Hitch 
Bow Knots 
Bow-line 

Bow-line on bight 
Bow shortening 
Builders' hitch 
Builders' knot 
Butchers' knots 
Catspaws 
Chain hitch 
Chain knots 
Clinches 
Close band 
Clove hitch 
Crown knots 
Cuckolds' necks 
Deadeyes 
Dogshanks 
Double chain 
Double crown 
Double figure-eight 
Double knots 
Double wall 



Double wall and 

crown 
Eye splice 
Figure-eight knot 
Fisherman's hitch 
Fisherman's knot 
Fivefold knot 
Flemish eye 
Fourfold knot 
French shroud knot 
Gaff-topsail halyard 

bend 
Garrick bend 
Gordian knot 
Granny knot 
Gunner's knot 
Half-hitch 
Half-hitch and 

seizing 
Half-hitch 
Hawser hitch 
Hawsers 
Hitches 



94 THE STEEPLE-JACK'S INSTRUCTOR 



Larks' heads 
Magnus hitch 
Manrope knot 
Matthew Walker 

knot 
Midshipmen's hitch 
Mooring knots 
Open-hand knot 
Ordinary knot 
Overhand knot 
Pier bend 
Reef jknot 
Reefing knots 
Roband hitch 
Rolling hitch 
Running bow-line 
Running knot 
Sailors' knots 
Sheepshanks 
Short splice 
Shroud knots 



Simple hitch 
Simple knots 
Sixfold knot 
Slip knots 
Slippery hitch 
Square knots 
Stopper knot 
Threefold knot 
Throat seizing 
Timber hitch 
Tomfool knot 
Treble knot 
Turks' caps 
Turks' heads 
Twist knot 
Wall knots 
Waterman's knot 
Weavers' knot 
Wedding knot 
Whipping 
Wind knots 



THE STEEPLE-JACK'S INSTRUCTOR 95 



THE END 



The 

Steeple-Jack's 
Instructor 






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Treatment Date: Aug. 2003 






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